Suggestions, Enhancements, etc.

Sub tool detail palette... on the Spraying Effect tab is a setting called "Particle Density"... to the right of that is a small rectangular icon.... click that and you will see the pressure and tilt settings . If you click to switch on the TILT setting then you can set minimum and maximum values.

PS... you can also sort of create that brush that uses a differrent tip each time (randomly).... but you have to create the strokes as long ribbon strokes in order for it to work.... not sure why you would want that but thats the closest you can get.

Sub tool detail palette... on the Spraying Effect tab is a setting called "Particle Density"... to the right of that is a small rectangular icon.... click that and you will see the pressure and tilt settings . If you click to switch on the TILT setting then you can set minimum and maximum values.

PS... you can also sort of create that brush that uses a differrent tip each time (randomly).... but you have to create the strokes as long ribbon strokes in order for it to work.... not sure why you would want that but thats the closest you can get.

Thanks, I get it now and it works exactly like I wanted it to. You're a genius!

Yeah I have tried the ribbon method before but it doesn't work for what I'm after. Say you have a round brush tip shape that consists of dots to simulate a bristle brush. Even if you have an art pen like I do and can use rotation, each stroke will end up looking very similar. If I would make say four or five different brush tips that were similar but different and those brush tips would be selected randomly for each stroke that would simulate the organic look of physical brush strokes where no stroke is truly alike the other. I have developed some work arounds but it would be a really cool feature. My dream would be if CSP would eventually incorporate a similar brush engine to the software Expresii which produces amazingly beautiful and realistic brush marks. I don't count on it, but it would be amazing.

@megalosaurus I find you can get a bristle brush with plenty of variation if the tip dots are of varied densities and sizes and spread unevenly across thetip shape AND the Brush tip "Direction" setting is set to " direction of pen" ... again by clicking the little icon to the right of the Direction setting.( wise to also slightly blur the dots and set the gap setting to a small gap). However for a brushed look I rarely use bristle brushes digitally ( in any program). While the brush can give a stroke that looks like a bristle brush its effect gets lost in a complete painting. I find you get better results, more control and faster workflow by first painting with simple brushes, fills and gradients and then using a bristle style BLENDER at the end. I also created a thick paint simulating brush ( Van Gough style)... which is applied in overlay mode again at the end.
Or for an instant solution I may use one of my 60 artistic filter Actions....e.g. I have ones that divide the image into zones and then "brushes" the zones in different directions

I mentioned them many months ago in this very thread, regarding the perspective rulers. Sure, I can use the "hook window" feature and use it with Clip, but LNP doesn't truly integrate itself with Clip as it does with photoshop. Thus, drawing perspective with it can be very frustrating, especially if you rotate or pan around your canvas a lot.

If there was any possible way to incorporate LNP into Clip, or at least bring the rulers/guides on par with LNP's features, I'd be very happy.

.... Oh, and a better text tool, of course. Right now Photoshop's text tools are just flatly superior. I do all my lettering there.

I'd like to see that like adobe animate that we'll be able to draw and animate outside the canvas. It would make animating so much easier without having to export backgrounds to after effects or another program to animate them and export the character animation only to see that the character animation doesn't really fit to the background animation and then switching between programs to make it fit together.

Colors can be blended or blurred together or supimposed ar painted with stick paint brushes... in all cases the color blendig is incorrect. I'll illustrate it with the extreme example of blending yellow and blue... which of course should be]lend to a clean and vibrant green....
![alt text ... you will see that what you always get is just a dull yellowy grey. And not the one shown as "Special Blur"... read on and I'll tell you how I do the special blend ...anyway, so what is happening...
While with real paint it would blend through the range of colors indicated by the green arrow , instead it is blending both ways around the color wheel ( the red arrows) resulting in reds cancelling out the greens. CSP's major competitors ( photoshop and Corel Painter) . I suspect that adobe made the mistake first and that everyone else thinks if they blend like Adobe then it must be right...but it is not. Nor is this a case of "digitally we are painting with RGB light and so pigment mixing rules don't apply.... this is not true as if you mix red and green you do not get yellow... it is attempting to mix like pigment but it gets it very very wrong. ARTRAGE has an optional setting to blend color accurately... but to my knowledge all the other programs ( including CSP ) do it wrongly , in fact almost any blending of any colors loses vibrancy by blending both ways around the wheel. PLEASE CAN CELSYS GIVE US A REALISTIC COLOR FIX FOR THIS ?

In the meantime I have a partial solution for this. First consider that all blenders and blur tools have Ink settings of "amount of paint" and Density of paint" both set to zero. I make copies of my favorite blenders and add "Real" to their names. I then change the "amount of paint" setting to 10%. Now if a use it to blend to colors I pick the color that is halfway between the two colors and I blend with this special blender... yes its not rocket science and its not exactly convenient but it does work... see examples below.

@chucky I can, but that'll make the program lag quite a bit since I usually animate on a canvas size of 1920x1080 and the background is at least 2x that size and usually have high resolution. But also, sometimes when animating the background I might have to move it more to the side, zoom in, or turn it diagonally, and sure I can extend the canvas to make sure it doesn't cut off the image permantly once it's out of the bounds, but once again it takes a lot of memory space and starts to lag.

Well, front page is being spammed, and I don't have enough reputation to report it. So removing the reputation thing might make things better. Or not. just saying someone is spamming all the forums right after I posted an important question :-/

Improvements to animation features: Clip Studio could be a massively competitive animation software, but it needs some major improvements along with cameras, keyframes, and audio that we now have.

-Change Frame Duration:
Currently, changing the duration of a frame is a PAIN. It's entirely counter-intuitive and overwrites frames instead of rolling them away from a frame you want to make longer. There should be handles on the corners of the frame.
-One on the top left to cull backwards and overwrite previous frames wherever you drag it.
-One on the bottom right to lengthen the frame and move the others further away with it.
-One on the top right to lengthen the frame, but overwrite everything in its path as well.
Making frames longer or shorter in the Timeline is a MASSIVE trouble right now, it makes animating very hard.

-Scrubbing Audio:
You can currently only hear audio when playing your animation. We need the OPTION to listen to it while scrubbing through our timeline, to more easily check lip-syncing and sound.

-Animated Project View:
There needs to be a way to see all our TIMELINES together in 1 'Project View'. Animating a long clip in one long Timeline is hard. Multiple Timelines can break up a long animation, but we can't see and watch them all in a row, like a bigger project divided into pieces.
There should be a 'Project View' that shows all timelines lined up together, preferably with a 'MASTER TRACK' for the audio that spans across all the timelines.